Oooookay. This makes sense. Ya, I know a few people out their who are similar where they listened to HC during a certain stage (often the rebel teenaged period) and now can’t even stand the shit, or even the prospect of going to a show where kids are running around, moshing and such.
I know want to seem like a know it all for trying to dissect your thought process, but it seems like you hear this music->reawakens a certain time (uninformed, convenient politics through and with HC)->juvenile. I get this. In many ways, this is one of the things that impresses me about HC because it does simplify certain politics, which is incredibly comforting when my entire life, and anyone who follows news on the Internet these days, is so inundated with news that complicates one’s core beliefs. I see positives and negatives to this understanding of the complexity of politics/ideologies because, if one’s too concerned with its complexity, it’s paralyzing, so middle ground has to be found and HC often helps me with this.
But, eldave, brother, you HAVE to check out Botch’s “C. Thomas Howell as the ‘Soul Man,'” (lyric sheet in hand, obviously) which directly touches upon the posturing often found in HC. A little background, this song is pretty much a diss of Racetraitor, whose drummer and bassist would go on to be members for Fall Out Boy. Cunts.

This impression on Salsa music is EXACTLY what I went through with country. Coming from butt-fuck, New Brunswick, country was everything and hearing songs like “She Thinks My Tractor Sexy” blasting from every ’94 Ford pickup, I completely dismissed everything about it. Then I challenged myself, did some research and decided to pick up Jamey Johnsons’ “That Lonely Song” and now I’m completely engulfed in country music. It’s a moment where I rediscovered that incredibly gratifying feeling of pushing myself, much like the feeling many of us get when we realize “Holy shit, my musical decision DON’T have to be informed by what’s popular.” So, I definitely subscribe to the idea that ALL genres and sub-genres have at least one or two gems, therefore no genre should be dismissed.
Also, correct me if this is fucking ridiculous and/or I’m not in on the obvious joke here, but Michael_ and Michael Hanna are the same person, aren’t they?

This is absolutely true. This vocal style has definitely become representative of many heavy metal bands’ intent to alienate (heavy music, on the other hand, is another matter, especially for the super melodic Tragedy, here). I guess much of my frustration comes from a misunderstanding of why us music lovers seem to pick on this sort of music, as if, usually because of the vocals, it’s a lesser form of music. This isn’t only informed from the comments here, but good friends who I know love music, but look at HC like it stupid, hoaky, etc ( I then I give them Azzerad’s “Our Band Could Be Your Life” and then their hate for HC goes from respect for Black Flag to not being able to wait for the next Double Negative 7″).
It’s sort of anthropological in its reflexivity. We should always look at where we’re coming from and be critical even of our own critiques. If, ultimately, it comes down to a simple personal distaste, that’s obviously fine, but don’t dismiss it and not give it some chance. I believe everyone who believes themselves to be a informed fan of music should have some what of a small collection of significant music from each and every genre. For example, go out and grab Refused’s Shape of Punk to Come, give it a good few spins and if that thing doesn’t convince you, ya, you probably won’t ever enjoy the genre.

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